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ABSTRACT
In this curriculum guide a flexible music program is
offered that provides a variety of interesting and challenging
courses for pupils in grades 9 through 12. The objective is to
present a musical education program to meet the wide range of needs
of different pupils many of whom will use music as a hobby or to
enrich their cultural background. Emphasis is upon courses consisting
of three important and specific areas in:- 1) skill development that
includes various kinds of vocal, instrumental and keyboard
expelielices; 2) musical knowledge that comprises courses in general
music, music history and literature, music theory, foundations of
music, composition, and conducting; and 3) attitude development
offering enrichment activities that help students achieve objectives
repiesenting greater personal music involvement. A minor portion of
the syllabus is devoted to general information useful to both
administrators' and music teachers, providing a general frame of
reference for the development of a high school music program.
(5.714)
In the
HIGH SCHOOL
k/) A SYLLABUS FOR
0
a_ GRADES 9 THROUGH 12
U
U.S. DEPARTMENT OF HEALTH.
1..r EDUCATION & WELFARE
MUSIC IN THE
HIGH SCHOOL
Foreword
V
GENERAL MUSIC 1 and 2
7IM end VII Greds
(Required to all 7th and 8th Grade Students)
L0
SKILL DEVELOPMENT
VOCAL KEYBOARD
1,2,3.0. 4 Units 1,2, 3,e r 4 Units
INDIVIDUAL PIANO
ACCOMPANIM(I.T INSTRUCTION ILsAn
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Qum.. BASIC )MST RUC ION C...-. INSTRUCTION
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ATTITUDE DEVELOPMENT
MUSICAL KNOWLEDGE
0 (General Educotion) I
1
Foreword
vii
Flowchart
Introduction
3
The Music Education Program
3
I. SKILL DEVELOPMENT
7
Choruses 8
Orchestras 9
Bands 10
Ensembles 11
Keyboard Instruments 12
Private Music Study
18
II. MUSICAL KNOWLEDGE 18
General Music 3 21
Music History and Literature 25
Music Theory 26
Sequence 1 (Theory I, Harmony, and Counierpoint) ,
26
Theory I (Sequence 1) 29
Harmony (Sequence 1) 31
Counterpoint (Sequence I) 34
Sequence 11 (Theory .I, II, III) 37
Theory 1 (Sequence H) 39
Theory II (Sequence II) 40
Theory III (Sequence II) 43
Comprehensive Foundations of Music
45
Composition 47
Conducting
51
III. ATTITUDE DEVELOPMENT (General Education) 53
Folksinging 55
Guitar 56
Music and the Electronic Medium 57
Music in Modern American Society
59
Administration 59
Credit Categories and Credit for Music Courses 60
Independent Study 60
Major Sequences 61
Examination Policy 62
Recommendations for Stalling and Time Allotments
65
Music in the Summer High School
ix
Administration continued
PAGE
Music and Evaluation
The ';.lusic Library 66
Music and Related Media 70
Recruiting Players and Mainline Instrumentation 70
Rooms for Music Instruction
Sour des of Information About Room Design and Equipment 73
Scheduling Music Instruction 78
The Music Budget 79
83
x
Introduction
12]
The Music Education Program
of New York
The program of music education in the high schools
important and specific areas of emphasis:
State consists of three
Skill Development
Musical Knowledge
Attitude Development
adapted
The flow chart on page iv outlines a program that can be
to various school situations.
I. SKILL DEVELOPMENT
par-
All musically capable and talented pupils arc encouraged to
ticipate in at least one phase of skill development. This includes the
5 various kinds of vocal, instrumental. and keyboard experiences.
Individualized and class instruction should be a regular music
offering. During such periods of instruction, each pupil should per-
form individually as well as with others. Instruction in theory as well
Lessons are
as in the techniques of performance should be stressed.
assigned and outside practice is required. In most instances, this
instruction should be considered part of the organizational framework
credit is
of the chorus, orchestra. or band; therefore. no additional
provided by the Bureau of Music Educa-
given. Specific guides are
implementing such instruction. so this aspect
tion to assist teachers in
of the program will not be emphasized in this syllabus.
Performing groups become ideal activities for further expanding
continuance
the student's general musicianship and for providing a
of a specialized musical momentum built- up from the elementary
grades. The choir. band. and orchestra involve those who look to
music as an avocation and others Who anticipate making some aspect
of music their profession.
Some desirable pupil objectives of participation in performance
groups are:
To enjoy music more fully through active participation in per-
forming organizations.
131
JO
To become more sensitive to the esthetic values in music.
To become acquainted with a wide variety of music literature
representing all styles and periods.
To contribute to the musical life of the school and community by
providing 'demonstrations. clinics, and concerts.
To acquire skills of reading music.
To correlate cultural heritages through the medium of music
which will contribute to a much needed understanding of all
ethnic groups.
'l'o acquire the habit of concentrated listening.
To acquire techniques of effective performance to include phras-
ing. dynamics. tone. balance. blend. attacks. and releases.
To develop concepts in musical content. structure, and style.
To acquire the ability to express the mood and spirit of each
composition accurately 'and effectively.
A notable change in concept with regard to the role of these
per-
forming organizations has recently become -recugnized. They arc no
longer viewed by the more progressive music educators as solely
organized for the purpose of performance. Rather. performing
organ-
izations arc recognized as a distinct part of the educational
process.
Each rehearsal is not only devoted to development of skill and
prob-
lems of ensemble playing, but to the further understanding of
con-
cepts incorporated within musical content. structure. and style. The
performing groups have extended their services by holding thetnselves
responsible and capable of providing opportunities to contribute to the
musical growth of the general student body by means of
demonstra-
tions, clinics. and concerts. While public performances within
the
community remain desirable from a musical standpoint as well as from
the point of view of good 2ublic relations, they should
be considered
products of the program rather than principal objectives.
_Rehearsals
A rehearse of the full ensemblect,for a class period includes
warming-up exercises, work on techniad details. sightreading
new
materials. car training. and perfecting current selections under study.
The objectives of the rehearsal arc becoming broadened so that
par-
ticipants learn not only the techniques of ensemble. playing
to improve
141
their vocal or instrumental skills. but also have opportunities for
directed listening. analysis. and demonstration designed to foster a
finer understanding of the structure and of the art of music.
Individualized Instruction
In addition to conducting full 'ensemble rehearsals. the band.
orchestra. or chorus teacher usually carries the responsibility for
regularly scheduled sectional rehearsals. small ensembles. and an
individualized instruction program for the members of his group.
Individuals and/or small classes may be scheduled in a variety of
ways. One of the most successful is the rotation system which permits
homogeneous grouping without interfering with students' other aca-
demic pursuits. Individualized instruction is designed to promote
growth in technical and musical proficiency.
Teachers of performance groups must also be allowed time to select
appropriate music and instructional materials and to plan the course
of study and the overall program of instruction.
Repertory
In recent years music educators have demonstrated a much broader
view with regard to the variety of literature used. Music representing
all the major art periods is employed to an ever greater degree. Much
more is known about medieval and Renaissance music and conse-
quently a great deal more of this music has been recently published.
Twentieth century music includes a broad spectrum of expression.
Among the important " schools are the following: Post Romanticism.
Impressionism. Nco-Classicism. Neo-Baroque. Expressionism. Primi-
tivism. Neo-Nationalism. Neo-RoManticism. Serialism/Twelve-tone
writing. Aleatoric music. Electronic music. and Jazz.
While it is impossible at any particular time to tell what music will
.
Credit
The amount of credit for participation in performing groups shall
be granted in accordance with the following: Members of performing
groups in grades 9 through 12 receive one unit of credit a year for
four or five periods of full ensemble rehearsals a week with equivalent
[51
time spent in outside preparation (or one-half unit of
credit for two
or three full ensemble rehearsals. including a proportionate
amount
of outside preparation time). Each rehearsal period
must be at least
40 minutes in length.
The basis for credit is the same as for any other secondary school
course and requires an amount of time spent on outside
preparation
equal to that spent in rehearsal. Outside preparation
may include
sectionals. individualized instruction. private study. and
home practice.
Performing pap rehearsals treated as laboratory
courses require
no outside preparation. In this case. the amount of
credit allowed
should be reduced to one-half the amount specified above.
Credit for participation in band and orchestra is often
combined
and listed in the school records as " instrumental
music." Likewise.
participation in two or more choral organizations. such
as mixed
chorus. a cappella choir, or girls' or boys' glee club,
may be combined
and credit allowed under the single title of " chorus.-
** Performing
music is the title adopted by
some schools to represent all electives
in the skill development area.
The continued approval of credit by the State
Education Depart-
.ment for music performing groups is conditioned upon the
following:
Rehearsals must be conducted as regular classes; a sequential
program
of instruction is planned: the organization must be
conducted by a
properly qualified and certified instructor; and satisfactory
of performance must be maintained. standards
Music organizations. as well as
the overall' music program of every school.
are subject to periodic
evaluation by the State Education Department.
Credit for music instruction outside the regular school
program is
discussed under Private Music Study.
161
CHORUSES
171
ORCHESTRAS
181
IS
BANDS
191
ENSEMBLES
1101
KEYBOARD INSTRUMENTS
IS
PRIVATE MUSIC STUDY
1121
the official files of the school for at least I year following the
completion of the year's study.
4. The pupil must take at least one music lesson a week. not less
than 30 minutes in length. for a minimum of 36 weeks during
the school year.
5. The pupil must practice a minimum of 5 hours a week.
6. Materials. including method books and solos.
should be of a
difficulty commensurate with the ability of the student, and of
acceptable musical merit.
7. At the close of each grading period, the teacher of applied
music will give the high school principal the pupil's grade on
a report form similar to form B on page 15.
S. The pupil must pass an examination before credit may be
allowed. -The examiner must report the result of the examina-
tion to the high school principal on a blank form similar to
form C on page 16. The principal will insert the proper grade
on the pupil's report and permanent record cards.
9. The approval of the applied music instruction and the selection
of the examiner is the responsibility of the high school authori-
ties. No fee should be charged the individual pupil for ex-
amination expenses.
10. Forms 13 and C should be kept in the school files for at least
I year following the completion of
the year's study and are
subject to call and review by the Bureau of Music Education.
11. Should the school or the private teacher wish to have students
submit a practice record for each grading period. form D on
page 17 is provided as a model.
The following paces show suggested forms to be used in connection
with the applied music program. These forms may be mimeographed
or otherwise duplicated by schools in accordance with local needs.
020
FORM A. APPLICATION FOR APPLIED MUSIC CREDIT
Name of school
Address of school
Signed:
1. Pupil
2. Parent
4. Private teacher
Telephone number__
5. Chairman. school music department
Approved by
(High School Principal)
Date approved
1 Retain this form in the school tiles for at least
pletion of the year's study.)
1
year following the com-
114)
FORM B. APPLIED MUSIC STUDY,
TEACHER'S QUARTERLY REPORT
School
Year in high school
Name of pupil
Report of progress
a. Scales studied
h. Chords, arpeggios
2. Presently studied
Comments:
Date
Date
(Retain this form in the school files for at least I year following the comple-
tion of the year's study.)
115J
as
FORM C. APPLIED MUSIC STUDY
EXAMINER'S REPORT
School
Name of pupil
Ratings:
I. Prepared solo. evaluation on tone, intonation. interpreta-
tion. and general etTect 40c,
Numerical Grade
Comments:
(Retain this form in the school files for at least 1 year following the com-
pletion of the year's study.)
1161
FORM D. APPLIED MUSIC STUDY, PRACTICE RECORD
School
I' 0 Address
Year in school
Name of pupil
Record below the number of minutes you pra lice each day.
Total for
Week ending Fri. Sat. Week
(Date) Mon. Tucs. Wed. Thurs.
Signature of Signature
private teacher of parent
Remarks:
[171
ail
II. MUSICAL KNOWLEDGE
GENERAL MUSIC 3
1181
understanding and
achieved a satisfactory level of general musical
appreciation should be urged to elect courses that deal with more
knowledge such as music theory or
specialized aspects of musical
music history and literature.
Basic Content
grades 7 and 8,
A specific outline of content has been provided for
Music." The
in a separate publication entitled " Teaching General refine-
aims and objectives of General Music 3 represent the further
which have been
ment of skills, knowledge, and understandings high school.
gradually developed from kindergarten through junior
The
This is referred to as a cyclical development or spiral sequence.
musical knowledge are used over and again but
same elements of which
studied in greater depth and breadth. In this way concepts
progressively more clear.
may be vague and general at first become
harmony,
Concepts relating to the organization of melody, rhythm,
the specifics. By dealing with
form. style. and expression represent
reading,
these key concepts through the skills of singing, playing,
students should derive a progressively
listening, moving, and creating.
order that they may
clearer understanding of the structure of music in
defend their musical preferences by knowledgeable testimony. Theo-
place, but only as they assist the student
retical problems have their
of any work. While little can be
in perceiving the musical content
music,
done directly to enhance an individual's emotional response to
refining his esthetic per-
a great deal can be accomplished toward
ceptions and intellectual grasp.
list of
Although it would be impossible to present an all - inclusive
considered in General Music 3, the follow-
specifics which should be
of content.
ing is provided in order to give the teacher a general idea
Leanings within each principle or element of music would include
at least:
Melody
minor
Tonality, through increased familiarity with major and
scales, as well as with pentatonic and whole-tone scales; atonality
patterns.,"
in the use of the twelve-tone scale; chordwise and scalewise
sequence; neighboring, passing, and repeated tones; tonal move-
ment; and placement of climax.
Rhythm
Characteristic rhythmic patterns; pulse; accent; metric groupings;
and
time signatures; polyrhythm; augmentation and diminution;
syncopation.
[19]
a If
Harmony
Harmonic intervals: triads, seventh, ninth, quartal chords and tone
clusters; inversions; cadence; common chord progressions; textures
of monophony, homophony, and polyphony; relative and
parallel
minor and major keys; modal, pentatonic, whole-tone and twelve-
tom scales; modulation.
Form
Phrase; section; two- and three-part song forms; rondo; theme and
variations; fugue; tone poem; and forms included in the
opera,
sonata. and symphony.
Expressive Elements
Tem o; dynamics; and tone color.
Objectives
To encourage the student. as part of the learning process, to
seek out (and experience) the variety of sources which offer live
and/or recorded music; and to have him become familiar with
material and sources which offer background information.
To make listening a more meaningful, relevant, and satisfying
activity in the student's living both present and future, by de-
veloping a historical dimension and orientation in music.
Credit
Music History and Literature is an elective course that may be
for
offered in grades 9-12 for four or five periods a week for a year
a full unit of credit.
121
a 6"
I. Listening
Purposeful and discriminating listening must constitute the
main activity of any study of music history. Through a broad ex-
perience with live and recorded repertoire, the student is guided to:
A familiarization with the very general types of music. (e.g.,
classical, semiclassical. jazz, popular, folk. etc.)
A capability to identify historically oriented musical styles. In
the area of art music the student would recognize such styles as
those of the Middle Ages, the Renaissance, the baroque, the
classical, the romantic, and the 20th century. In popular music
the student would come to recognize such styles as dixieland,
ragtime. bebop, commercial, swing, blues, progressive jazz, rock.
An exposure to such non-Western music as Indian, Chinese,
Japanese. Indonesian, and others.
To be able to identify thematically a broad and historically repre-
sentative core of specific works.
In becoming familiar with the varied types of music litdrature, the
student would develop aural powers of discrimination as regards:
Instruments and voices (singly and in groups) which play a
characteristic role in the performance of any particular type or
style of music. Included in this connection would be such non-
Western instruments as the Indian sitar and the gamelan instru-
ments of Indonesia;
Modes, scales, tonalities, atonalities, and nontonal systems (e.g.,
aleatoric and electronic music) upon which specific composi-
tions are based;
Compositional devices through which thematic materials are
developed into compositional forms.
2. Studying Musical Information
Listening-oriented as the main activity of the course may be,
there still remains a need for discourse and student research related
to musical 'concepts. and information pertinent to the history,
philosophy, and economics of the period under study.
Areas requiring rescamh and classroom explanation, examina-
tion, and discussion should include:
Current events in music including performers, performances, and
performing locales. This phase of work also deals with the
literature performed and critical appraisals of the performances.
[22]
al:
Historical periods of music including ancient, Middle Ages,
Renaissance, baroque, classical, romantic. and 20th century.
This study would include analyses of the respective styles and
the manner in which they might reflect the social conditions on
politics and the art styles of their times. This phase of study
would also make an appraisal of the nature of the broad com-
positiOnal structures (e.g., opera, symphony. ballet, and show
music during the respective historical periods).
The evolution of jazz and other related forms of popular music.
Various kinds of American folk and folk-rock music would be
included in this phase of study.
Voices and instruments. including description and their appli-
cation in musical performance.
Tonal and atonal system's including modes, scales, harmonic
systems. and nonsystems (e.g., aleatoric and electronic music).
Compositional structures including devices and techniques
through which the composer develops -thematic material into
musical compositions.
Music terms; music elements.
Non-Western music: types; characteristic rhythmic, harmonic.
and melodic structures; and characteristic instruments.
3. Score Reading
Wherever possible, some form of music notation and texts (for
songs. operas, and other forms) should be available and serve as
an integral dimension of listening and technical discussion. Even
for students who cannot read music, benefit will be derived from
certain graphic images that the printed score will offer. The fol-
lowing lists of books, recordings, and other materials may be con-
sidered for use in this course:
BOOKS*
Hodeir, Andre. Jazz., its evolution and essence. New York. Grove
Press. 1956.
Mach lis, Joseph. The enjoyment of music; rev. ed. New York. W. W.
Norton. 1963.
123j
30
Miller, Hugh. Introduction to music. New York. Barnes & Noble.
1958.
History of music; rev. ed. New York. Barnes & Noble. 1970.
Wilson, A. Verne. Design for understanding music. Summy-Birchard.
1966.
DISCOGRAPHY
Brown, Robert & Troth, Eugene. Music 100: an introduction
to music
history. New York. American Book Co. n.d. Records, teacher's
guide, student worksheets, slides.
Much lis, Joseph.Adventures in listening. New York. Grosset &
Dunlap, Inc. Records, teacher's guide, student,
textbooks. n.d.
1241
3l
MUSIC THEORY
(251
SEQUENCE 1
(Theory I, Harmony, and Counterpoint)
Theory I
(Sequence I)
Theory I is an elective course dealing with the elements of musical
structure. It is designed for those students who may wish to pursue
a three -y,:ar sequcnce in musical theory, for individuals who require
a basic music course that will develop insights into the :.tructural con-
tent of music, or for those who may wish to acquire a more thorough
awareness of music through the theoretical principles which underlie it.
Objectives
To gain an understanding of the basic rules and principles
involved in using the language of music.
To increase the ability to analyze music aurally and visually.
To fulfill a primary prerequisite toward the development of skills
in composing, arranging, harmonizing, and improvising music.
Credit
Theory I may be offered in grades 9-12. It is prerequisite for
Harmony and/or Counterpoint courses and requires four or five
periods a week for a year for one unit of credit.
Basic Activities
The subject matter of Theory I should be approached through the
basic activities. The pupil learns to (1) analyze music through listen-
ing, (2) perform music through sightsinging, keyboard, and other
mediums, (3) analyze music visually, (4) synthesize, by writing origi-
nal music, what has been learned. The theory learned should be
applied to music in class, to school ensemble work, and to private
music study. Conversely, the music used in school music organiza-
tions and private music study and the favorite music of the pupil
should be brought into class and treated through the sane four basic
activities as follows:
1. Analyzing aurally
Since music is an aural art, the pupil should learn to compre-
hend musical compositions through listening to them. This ability
1261
requires a great amount of attention throughout the course. Aural
analysis includes recognition of melodic and harmonic pitch inter-
vals, scale lines, rhythmic patterns, form, and other elements of
style and expressiveness.
Dictation is very important if the car is to be trained to follow
melodic movement, recognize rhythmic patterns, and note changes
of key as well as the manner in which such changes are made. When
giving dictation the teacher should not restrict the exercise to the
piano alone. Effective use may be made of vocal and instrumental
performances by pupils as well as phonograph records and tape
recordings.
2. Performing
Attention should be given to improving the pupil's ability to
read vocal and instrumental music at sight. Subject matter of the
course that is appropriate for either voice or keyboard experience
should be so practiced at the time it is studied in class. Two or
more part compositions may be sung in class.
3. Analyzing visually
As with aural analysis, this involves not only melody but also
all other elements of the musical score. It means more than the
ability to analyze how music " looks." The pupil's aural imagery
and inner hearing must be trained toward " hearing " the printed
score. The fact that tempo of the music can affect the analysis
should be considered. A useful activity to combine both aural
and visual analysis is to follow musical performances with the score
in hand, noting any points of difference.
4. Synthesizing
There should be a consistent emphasis throughout the course on
the development of skill in expressive handling of the materials
presented and in creating new music. Simple melodies may be
written with and without text and should be composed for and per-
formed by members of the class.
Basic Content
The syllabus for Theory I includes the basic content of the tradi-
tional course in Rudiments of Music. Each item should be presented
according to the extent of experience, abilities, and interests of the
pupils.. Both aural and visual analysis should be employed. The
distribution of the work is left largely to the discretion of the teacher.
(27J
3q
Scales and Cie Is
The great staff. treble and bass clefs, leger lines, letter names of
notes.
Musical Terms
Common terms for style, for tempo and dynamics. for variations
in tempo and dynamics. Abbreviations and signs.
Melody
Typcs, stiics, evaluation of melodies.
Intervals'
Perfect. major. .minor. diminished, augmented. Number names,
qualifying names.
Cadences
Recognition and use of authentic, plagal. half and deceptive
cadences (perfect and imperfect forms).
Chords
Specific tone names (tonic. supertonic, mediant, etc.) used to
identify triads.
Form
Recognition and use of motive. figure, phrase. period, Melodic
repetition, imitation, and sequence.
Nonharmonic Tones
Passing tones, neighboring tones.
[ 28 j
Harmony
(Sequence I)
Harmony is an elective course dealing with the vertical aspect of
the structure of music.' It is designed for students who have com-
pleted Theory I or Comprehensive Foundations of Music and wish
to study in depth the simultaneous combinations of tones organized
into chordal patterns, and their functional relationships. These range
from the relatively simple triadic progressions of early baroque music
to complex contemporary harmonies, and from the straightforward
usages in traditional or folk music to the intricacies of concert works.
Objectives
To investigate and become aware of the organization of music from
_14
harmonic aspect.
To develop the ability to perceive harmonic structures as musical
entities functioning in conjunction with the other elements of music.
To develop writing skills which employ the various harmonic tech-
niques under consideration.
To relate the harmonic aspect of music to the performance and
appreciation of musical works.
Credit
Prerequisite to this course is Theory I or Comprehensive Founda-
tions of Music. The course requires four or five periods a week for
a year for one unit of credit.
Basic Activities
1. Analysis
Both aural and visual analysis should be employed in order to
coordinate these means of perceiving music. Opportunities should
be afforded for students to develop skill in recognizing the qualities
of chords, names of intervals and chords used in progressions from
a variety of sources such as Bach chorale harmonizations, move-
ments of works from the classical period having a slow harmonic
rhythm, popular tunes, and available works from the 19th and 20th
centuries. Such works should be analyzed visually as well.
For books and other supportive material. sec Words, Sounds, and Pictures
About Music.
1291
2. Performance
Appropriate works which demonstrate various harmonic pro-
cedures should be performed in class as well as student exercises
of a predominantly harmonic nature. Student performances should
be encouraged.
3. Writing
Exercises employing various techniques and devices under con-
sideration form the most important part of the course. Original
writing in binary, tenary. and rondo forms should be included as
well as setting verses to music with proper syllabication and
prosody. The student should attempt to use these materials ex-
pressively and meaningfully. Exercises are to be sung and played
in class.
Basic Cowen:
Both aural and visual analysis should be employed in each of the
following items:
Intervals
Names of harmonic intervals: perfect. major. minor, diminished.
augmented. Number names, qualifying names.
Cadences
Authentic, plagal, half, deceptive (imperfect and perfect forms).
,
Chords
Triads, seventh chords. Specific names based on scale degree of
root of chord. Principle of inversion. Primary and secondary
triads. Roman numerals. Altered chords, secondary dominants,
augmented sixth chords, Neapolitan sixth chord, diminished seventh
chords, and other less common chords. Figured bass symbols..
Nonharmonic tones
Passing tones, neighboring tones, suspension, anticipation, appog-
giatura, escaped tone, changing note figure, pedal point.
1301
based on modal harmonies. parallelisni..
..;nraditional root move-
Exercises should be
ment, and atonal and freetonal
written in four-part chorale style, k, N,:)oard style, instrumental
ensemble style. and other textures and yldia as appropriate.
Counterpoint
(Sequence I)
Counterpoint is an elective course in music designed for students
major
who plan to study music on the college level, most likely as their
concentration.
Basically defined as the art of combining melodies, the study of
counterpoint is usually approached through the analysis and synthesis
writing
of music from the two outstanding peaks of contrapuntal
by the works of Palestrina, and the
the 16th century as exemplified
18th century. best represented in the works oCJ. S. Bach. In addition,
the
the revival of interest in contrapuntal writing in the first half of
20th century has produced numerous works for study.
Objectives
To foster attitudes toward contrapuntal music which will increase
students' appreciation of it.
increasing
To develop insights into contrapuntal music thereby
students' ability to perform it effectively.
To develop skills in the aural and visual analysis of contrapuntal
music.
To develop writing skills in counterpoint.
Credit
Founda-
Prerequisite to this course is Theory 1 or Comprehensive
week for
tions of Music. The course requires four or five periods a
a year for one unit of credit.
Basic Activities
study
In college music studies each of the two areas of contrapuntal
the
is a year or more in length with further study often pursued on
that the study of
graduate level. For this reason, it is recommended
the subject on the high school level be introductory and comprehen-
sive. The approach should include:
1. Analysis
and
This phase of the course work should consist of both aural
sufficient emphasis.
visual analysis. Too often the first is not given
[311
Representative pieces should be heard and students should attempt
to write what they are hearing in two- and three-part dictation.
Visual analysis should consist of perceiving the form of a given
piece and the intervals and background of harmonic progressions.
Modal usage and cadences should be analyzed when employed.
Records and tapes. piano or live performance may be employed for
aural analysis.
.2. Performance
Playing. singing. and participating in the reading of works
under study provides valuable experience in applying to perform-
ance the skills and concepts gained in other phases of the course.
In addition, performance opportunities should increase skills and
deepen insights concurrently being realized. Performances by stu-
dents should include the reading of exercises and pieces written
by
class members.
3. Writing
The most important aspect of the course is writing exercises
employing forms. media, and style characteristics of the periods
under investigation. These exercises should be performed in class
when practicable and discussed and evaluated by the class
mem-
bers and the instructor.
Basic Content
Semester I
Clefs
Use of alto and tenor clefs
Scales
Modal scales: Dorian, Phrygian. Lydian, and Mixolydian
Tine values
Use of 4
2 and meters
Cadences
Clausula vera and hocket cadence
Nonharonic tones
Suspension, passing tone, portamento, neighboring tone
Form
Point of imitation, motet and mass
Semester II
Melodic contour
Motive repetition and phrase
Harmonic background
Implied harmonic progression.
Nonharmonic tones
Passing tone, suspension, neighboring tone, anticipation, escape
tone, appoggiatura, free tone, etc.
Invertible counterpoint
Forms
Invention, prelude, canon, fugue, passacaglia, chaconne, etc. For
and Pic-
books and other supportive material, see Words, Sounds,
tures About Music.
SEQUENCE II
(Theory I, II, Ill)
Competency in the major field, vocal or
highest importance. instrumental. is of the
Students should be encouraged to gain a high
level of proficiency in their major subject
while at the
participating in as wide a variety of musical experiences same time
as possible.
Since performancc ability is such a necessary
part of musical training,
active participation in a performing group is essential.
Obiectims
To gain and increase auding skills.
Listening skills include music reading
or sightsinging. dictation,
keyboard harmony. conducting.
To develop writing skills.
Writing skills include composition and orchestration.
To acquire a broad perspective of music by
ature. Literature includes form
a study of the liter-
and analysis. and music history.
Credit
Theory I. II. and III may be
offered in grades 9-12. The first-
year course is a prerequisite for the
second which in turn is a pre-
requisite for the third. Each course requires
four or five periods a
week for a year for one unit of credit.
Students may choose to pursue
the courses offered in this sequence for
one, two, or three years
depending upon their specific needs and interests.
Basic Activities
The subject matter of the three-year
major areas to include listening, writing, sequence is contained in three
and literature. This does not
infer that these various disciplines
are to be taught separately. On
the contrary, all areas arc overlapping, interrelated,
taught continuously throughout the entire and should be
sequence. The object
should be to create a synthesis of the
various skills and concepts
in order to understand the elements which
are common to all music
throughout history.
Of the three areas, the first, listening, is
most in need of constant
repetition. At least 30 percent of each class period
should be devoted
to some form of car training which is. closely linked
and literature being explored at the time. to writing skills
Of all musical skills the
(.34.1
ability to analyze aurally is of the highest priority and must be prac-
the
ticed consistently. preferably daily. Aural analysis should include
intervals.
ability to recognize. sing. and. write melodic and harmonic
harmonic
all types of scales. various rhythmic patterns. melodic lines.
progressions. and formal structures.
I. Listening
Music reading
Dictation
Keyboard harmony
Conducting
Music reading. or sightsinging. is one form of ear training.
Any system syllables. numbers, intervals or any combina-
tions of systems can be used. Materials should be selected that
compliment the writing skills being taught or that review previous
writing skills.
Dictation presents two problems. One is the ability to " sing
back '' what is played. the other is the knowledge of notating what
is
has been heard. Continual practice of both of these aspects
copying melodic
essential. Dictation should not be limited to
lines'using the piano as the sole medium. Vocal and instrumental
dif-
music as 'well as phonpgrhph records afford opportunities for
and
ferent types k-dictation such as harmonic schemes. texture.
form.
Keyboard harmony should include a minimal facility of piano
technique but a maximum of harmonic awareness. The emphasis
should be on hearing and playing chord changes. This can lead
to great possibilities for developing imprdvisational skills.
Conducting should cover the basic techniques; i.e.. beat pat-
However. empha-
terns. entrances, holds, releases. dynamics. etc.
sis should also center on ear training through " hearing" the
printed score.
2. Writing
Composition
Orchestration
is
If the listening skills are the heart of the course, composition
its soul and should stand at the center. All assignments should
with
deal with the concepts involved in creative writing rather than
single
arbitrary stylistic rules. Composition should progress from
[351
line melodic and rhythmic writing to contrapuntal melodic
and
rhythmic writing and to harmonic writing with increasing sophistica-
tion. Original composition in small forms to include binary,
ter-
nary. and rondo becomes essential as well as setting verse to music
with proper syllabization and prosody.
Orchestration techniques should be taught simultaneously as a
natural and integral part of all writing assignments. Each technique
should be presented as the need arises with growth in this
skill
paralleling that in composition. Students should write for
as many
and varied combinations as possible. It is vital that the majority
of these compositions be heard by the student so that self-criticism
can be employed.
3. Literature
Form and analysis
Music history
Form (or the lack of a more traditional formal structure)
should
be taught as resulting from a composer's endeavors.
It should be
viewed as being plastic rather than static and capable of
expansion
or contraction. - Form should be taught as a natural outgrowth of
composition beginning with the writing of rhythmic and melodic
motives and working toward more complex structures.
Assign-
ments would include analysis and writing of phrases, periods, and
binary and ternary compositions. Larger forms such as fugue and
sonata allegro should also be studied and analyzed. All such analy-
sis should be done within the stylistic and cultural
aspects of par-
ticular musical periods. This should present a broad perspective
of music in a historical context. A repertoire of musical works
studied and analyzed should be amassed and should include
all
types of music spanning all eras.
The fact should be stressed that today's current
events will
effect tomorrow's music history. Attention should be constantly
drawn to contemporary composers, performers, conductors, and
organizations.
Basic Content
The following outlines detail a suggested approach to the presenta-
tion of the course content in a sequential
manner. At is up to the
teacher's discretion to decide when to introduce\ neiymaterial
and in
what depth it will be studied. These will vary according
to the abili-
ties and experience of the class.
[36]
listed
It should be remembered. however, that, although items arc
separately. the teacher should attempt to synthesize them in presenta-
elements of music, not their frag-
tion. The inclusiveness of all the
mentation. should be the goal.
This implies that a great many resources should be made available
to students including scores. recordings. texts, and reference books.
dif-
It also indicates that each student will be working from several
ferent texts, scores, and so forth. simultaneously. in dialer to achieve
a synthesis of the various musical elements. It Is up to the teacher
in which
to determine which approach works and which chaptdrs
books will accomplish this goal of " all-inclusiveness."
Theory I
(Sequence H)
Dictation and Sights**
Depends on class level; closely linked with composition and form;
concentration on °tic- and two-pakt melodic and rhythmic counter-
point utilizing motives. phrases. periods. Mostly diatonic.
Basics. to include key signatures, meter signatures, rhythmic pat-
terns. All scales should be covered. co'
Keyboard
Cadences using I. IV, V; accompanying simple folk songs using 1.
V. V; blues progression using I, IV. V; improvisation on blues pro-,
gression. Chording should utilize various meters and rhythmic pat-
terns.
Conducting
Common beat patterns; concentration on ability to hear errors;
conducting of original composition exercises.
Cott/position
Composition in the first year should focus on melody writing in
scales and
one and more voices. Early assignments should cover all
modes in chant type melodies and progress through organum to coup:7
figures and motives;
tcrpoint. Writing of melodic and rhythmic
cadence. phrase; period. contrapuntal techniques (sequence. imitation.
augmentation, etc.), various types of canon; two- and three-part
inventions.
Identification and employment of intervals in counterpoint; con-
cept of " consonance," " dissonance," and " nonharmonic tunes."
137.1
yN
Writing should include both instrumental and- vocal
compositions
(with and without text).
Orchesmuion
All compositions should be written for a specific voice or instru-
ment. Transpositions. ranges. and technical idiosyncracies
should
be covered as needed.
Care should be taken to use all families of instruments
in varying
combinations.
As many assignments as possible should be heard.
be paid to correct usage of musical terms and Attention should
calligraphy.
Musk. History
Since the first year course deals primarily
with monophonic and
polyphonic music, those periods in history when such
styles of writing
prevail would be most thoroughly researched.
The periods would
include medieval, Renaissance, baroque, and
does not necessarily indicate a chronological contemporary. This
approach but one in
which comparisons from different periods could
be drawn. Signifi-
cant influences such the other art forms, and historical events and
personages shoUld be related. However, the emphasis
the music as an outcome of the composer's life, should be on
time, and society.
[38)
Students in the first year of study arc being exposed to the funda-
mentals of music: pitch (melodically and harmonically), rhythm.
texture. and form. The student should be immersed in each learning
experience in a combination of these basics. For instance, if the
topic is two-part counterpoint, the student should sing, take in dicta-
tion, play, write, analyze, and research all styles of two-part counter-
point.
Theory II
(Sequence 11)
Orchestration
Concentration on writing for vocal and instrumental trios, quartets,
and quintets. Transpositions, ranges, and technical idiosyneracies
should be covered as needed.
All combinations of voices and instruments should be used with
greater fluency and experimentation.
More attention should be accorded doubling, balance, texture.
voicing, dynamics, and tone color.
[391
Form and Analysis
The analytic emphasis in the second year should bc harmonic. This
analysis should closely parallel dictation and writing assignments.
Several systems of harmonic analysis should be used including
roman
numerals. figured bass. and jazz harmonic terminology (Am 13, etc.).
Larger forms, although probably not written. should be listened to
and analyzed. This analysis should include
general form, key rela-
tionships. cadences. phrases. motives, etc. Forms analyzed in this
way should include two- and three-part song forms; song form with
trio. rondo, variations; sonata-allegro.
Musk selected for listening and analysis should bc chosen from all
musical styles and periods with similarities and differences noted (i.e.,
analyze and compare the song form with trio in Haydn's Symphony
No. 94 with the same form in Prokofiev's Classical Symphony).
Music History
The listening repertoire should be expanded to include all of the
forms studied from the classical. romantic. and contemporary periods
of music.
Extramusical events such as the rise of nationalism, the refinement
of instrument making. 20th-century mechanization. and
so forth
should be viewed in the directness of their influence on
composers.
Music history should be an integral part of the study of forms, anal-.
ysis, and orchestration and not treated as a separate discipline.
It
should he viewed as both cause and result of any composer's
output.
Students in the second year will study the same basics of music
pitch, rhythm. texture. and form as in the first year but with a
broadening knowledge. greater facility, and increased sophistication.
Again the student should be immersed in each learning experience
in
all of these basics as the teacher points out the interrelationships.
Theory III
(Sequence II)
Dictation and Sightsinging
These depend on class ability; emphasis on extending the aural
memory both melodically, contrapuntally, and harmonically; instant
recognition of chord progressions; and aural recognition of forms.
Sightsinging drills should be based upon material which is related to
IQ]
47
the style periods under consideration. In this way, learning will be
rein arced through the mutual enhancement of the various aspects
of the eomprehensiye_approach.
Keyboard
Included under this subtopic arc ability to play melody and chords
of " pop" music; ability to accompany, folk songs using various
rhythmic accompaniments to suit the mood niThe song; and increased
emphasis on improvisation. Greater technical facility is desirable,
but harmonic awareness and usage is still of first importance. Some
experience is given of reducing afull score at the keyboard.
C'onducting
Increased ability to sightrcad scores; conducting of all original
compositions. and conducting experience with major high school
ensembles arc included here. Greater conducting technique is desir-
able, but concentration should remain on ability to " hear " errors.
Composidoit
The writing of original experiments, exercises. and works should
form the core of the third year. Projects should include a judicious
mixture of vocal and instrumental works in a variety of ensembles.
It is most important that these works be heard and conducted by the
students when possible. Assignments of experiments and exercises
should serve both as a review and culmination of the previous years'
work. Students need not be restricted to tertial harmonics and tonal
writing. Experiments should be assigned in polychordal. polytonal.
modal. quantal harmony. mixed media, and. if possible, electronic
music.
Orehesiratiotz
All composition assignments should be written with the tentative
orchestration in mind. Attention should be focused on obtaining the
sound (tone color, texture, etc.) that exists in the composer's inner-
most mind. Improved ability to " hear " the printed page should be
viewed not just as a part of orchestration but as a composite of sight -
singing. keyboard, conducting, and composition. Scores should be
studied in greater detail to discover how various composers achieve
particular effects. Assignment should cover all families of instru-
ments so that by the end of the third year the student is familiar with
ranges, transposition, and peculiarities of all voices and instruments.
The student's greater fluency and understanding should be exhibited
by the ability to employ accurate string bowings, pizzicato, use of
14.1]
mutes. other effects (flutter tongue, glissando. etc.) and effective per-
cussion parts.
Form and Analysis
In the third year students will continue to use the same basic tools
of analysis (melodic, harmonic, textural, structural) but with greater
facility and thoroughness. Any forms not analyzed in the first
two
years should be covered so that at the conclusion of the three-year
sequence the student has amassed a listening and analytic repertoire
from all musical periods. While the major forms deserve the
greatest
time allotment for study, there should be a listening familiarity with
all forms.
Vocal Forms
Vocal forms which should be covered in the three-year sequence
include the larger forms of mass. opera. oratorio. motet. madrigal,
and cantata as well as songs. both strophic and-through composed.
Instrumental Forms
Instrumental forms to be covered include suite, all polyphonic
forms. sonata. symphony. concerto, chamber music, and other single
movement or composite forms.
In the third year special emphasis should be placed on an attempt
to analyze,. understand. and employ 20th-century techniques. Atten-
tion should be focused on serial techniques and compositions.
Listen-
ing and research should be done with aleatoric. electronic, and
experimental forms.
Music History
With increased musical maturity there should be
an accompanying
awareness of the part society plays in any composer's life and there-
fore in his works. Historical influence should
not be confined to
memorization of unrelated facts, but should be viewed as an integral
part of the creative process, At the conclusion of the third
year the
student should have become acquainted with a sizeable number
of
various forms representing all musical periods. If the forms have been
studied in their historical context the student should possess a broad
perspective of music and its relationship to life.
The final year of the three-year sequence should serve as a review
of all musical fundamentals with an ever-increasing facility to listen,
play, writc, and understand their usage. It should also serve
as the
culmination of the process of synthesizing the various musical
ele-
ments.
1421
COMPREHENSIVE FOUNDATIONS OF MUSIC
Objectives
To study theory through the analysis of a number of composi-
tions representing a wide range of style periods.
To use compoSition as a means of developing insights into the
great musical works of the past and the present.
To develop an awareness of music as an art in a historical con-
text. including the esthetic principles which underlie it and the
forces which influence its growth.
To develop aural-visual skills needed in performance, analysis,
and teaching.
To derive ample experience in conducting. orchestration, and
arranging.
Credit
Comprehensive Foundations of Music may be offered in grades
9-12. While no prerequisites have been established. it is recom-
mended that only those pupils who display outstanding musicianship
enroll. The course requires four or five periods a week for a year
for one unit of credit.
Basic Activities
The program is divided into two phases: Phase I: Elements of
Music; Phase II: Introduction to the Structure, Materials. and Litera-
ture of Music. Phase 1 should occupy approximately one-third of
the school year and phase H. the remaining two-thirds.
Phase I: Elements of Music
. This phaSe covers much of what Would normally be considered a
first-year theory course and includes a review of the basic principles
of music notation. ,the presentation of the rudiments of the melodic,
harmonic. and rhythmic aspects of the musical art, a consideration of
their usage in compositions representing various style periods and
types of music, a discussion of tone color, and a consideration of tex-
ture and form.
Phase II: Introduction to the Structure. Materials. and Literature
of Music
The second phase represents a survey of music in all forms and
from all style periods. Its purpose is to give students an opportunity
to consider in detail a number of representative selections, and observe
the interworkings of the items studied in phase I. The principal
emphases are on the characteristics of style, the media, the forms. and
the significant composers of major periods in musical history. Stu-
dents will be expected to analyze scores; to listen carefully to live
performances whenever possible and to recordings; to utilize the
observed techniques and principles in exercises and original composi-
tions designed for .inclass performance by smalkt, instrumental and.,
vocal groups: and to conduct or perform in class.
Throughout phase II, the teacher should coordinate the study of
literature and theoretical practices with carefully selected drills in
car training and music reading. Exercises in music reading should
begin with simple. stepwise melodies in easy rhythms and progress
through melodies which involve more difficult diatonic skips and
rhythms to those characterized by modulation, chromaticism, ato-
nality. and more complex metric and rhythmic patterns. Coordinated
with exercises in music reading should be car-training drills which
are designed to develop the students' melodic, harmonic, and rhythmic
perception.
Perhaps the most important aspect of this phase is the requirement
that the students write, prepare for performance, and then conduct
or play exercises and/or short compositions which involve the tech-
niques and principles discovered in selections from the various musi-
cal periods. Through inclass exercises the students should not only
gain esthetic insight into the works and periods under consideration,
but also valuable experience in such tangential areas as conducting.
rehearsal techniques,' music manuscript reading, aural recognition
and correction of errors, calligraphy, orchestration and instrumenta-
tion, tran7)osition. and stage presence.
Basic Content
Sec the course description entitled " Comprehensive Foundations
of Music." published by the State Education Department.
[44]
COMPOSITION
Objectives
To develop the writing skills necessary to compose music.
To develop the taste and judgment needed to shape original
musical ideas.
To become faMiliar with the principal compositional techniques
or the 20th century.
To increase appreciation for contemporary music.
Credit
This course requires four or five periods a week for a year for one
unit of credit. However, a course in composition may sometimes
prove far more effective when a certain flexibility with regard to the
number of class meetings can be provided. Therefore, individuals
who arc considered sufficiently mature and competent by their instruc-
tors may pursue a year of independent study in the area of arranging
or composition. The project should be proposed and developed by
the student himself, with the teacher's guidance, and must be approved
by both the school music teacher or director of music education, and
the high school principal. A careful description of the program
should then be submitted to the Bureau of Music Education for
endorsement not later than May 1 of the year preceding the term
such work shall commence. Subject to approval by that office, the
student may pursue his project in lieu of a formal composition course.
Upon satisfactory completion of the work, the student will have ful-
filled the requirements for one unit of credit toward the major
sequence in music.
Basic Activities
While primary emphasis should be on the writing of original exer-
cises and short pieces (and hearing and discussing them). representa-
tive 20th-century masterworks should be heard and analyzed in order
for students to become aware of significant directions in contemporary
3
music. Works from earlier periods may also be heard and discussed
to illustrate traditional musical forms and techniques.
[451
c5/g
Improvisation may be employed as a means of stimulating creative
activity. Aleatoric may be investigated as well as electronic music
if equipment is available.
Basic Content
The various topics should be presented according to the readiness
of students as influenced by their abilities, experience. and interests.
It is more effective if students concentrate on shorter pieces for piano
or small ensembles which can be performed in class. While there
should be freedom to explore individual creative materials at all
times. the following topics are recommended:
Melodic contour.
Modal, whole tone. and synthetic scales as used in 20th-century
music.
Twentieth-century melodic techniques such as extended range,
nonvocal melody. atonality and free tonality, melodies derived from
quartal and extended tertial harmonies.
Twentieth-century harmonic practices such as extended tertial
chords. quartal chords, chords with added or omitted tones. super-
imposed triads (polychords).
Chord progressions based on modal harmonies. parallelism, non-
traditional root movements, free tonality. atonality. and newer
cadential materials.
Rhythmic practices h-:lulling shifted accents. syncopation. changing
meters. asymmet6; nic:v:rs, and polyrhythms.
Manipulative teclakitii;.s such as sequence, modifications of con-
tour. and rhythmic and motivic fragmentation. Imitative pro-
cedures and devices.
Avant-garde techniques such as electronic music, graphic music.
and aleatoric music.
During the consideration of the above topics and the writing of
pieces employing them, the student should also be developing a
knowledge of traditional forms such as two- and three-part song
forms. rondo. sonata. variation forms. contrapuntal forms, and free
forms.
For books and other supportive material, see Words, Sounds, and
Pictures About Music, published by the State Education Department.
t461
53
CONDUCTING
Credit
This course may be offered in grades 11 and/or 12. four or five
periods a week for one semester. or two or three periods a week for
a year for one-half unit of credit. At the discretion of the music
chairman and the school principal, these requirements may be met
on a more informal basis over a period of two or more years for pupils
devel-
of exceptional promise. The project should be proposed and
oped by the student himself. with the teacher's guidance, and must
be approved by both the school music teacher or director of music
education, and the high school principal. A careful description
of the program should be submitted to the Bureau of Music Educa-
tion for approval not later than May I of the year preceding the term
such work shall commence.
Basic Activities
L Serving as Conductor
As they become competent. pupils should serve more and more
often as conductors of rehearsals of school groups. Additional
experience may be gained from conducting ensembles or combina-
1471
5
Lions outside of school. It may be possible for pupil conductors
of different schools to exchange positions. Occasionally a pupil
should direct one or two numbers during public performances.
2. Assisting the Music Teacher
Pupils can share with the music instructor some of the respon-
sibility for handling the music library, making arrangements for
special rehearsals. and keeping records. They can substitute for
himItequently so he is able to listen to his performing group more
objectively from various parts of the auditorium. These pupils may
also help in enlisting younger pupils in musical accomplishment.
3. Observing Conductors in Action
In addition to serving as conductor, it is mandatory for each
pupil to serve simply as a member of one or more performing
groups. Hcrc he can learn the methods, strengths, and weaknesses
of other conductors.
An effort should be made to watch many conductors of different
type's of organizations. These include leaders of concert bands,
dance bands. symphony orchestras, choiri and choruses. Especially
good opportunities for observation are al ded at school music festi-
vals as well as at professionalatonttiaLtelevision programs. Pro-
fessional conductors should be watched iihd studied as much as
possible.
Basic Conical
Techniques ,of Conducting
The freedom to function as a critical listener while engaged with
the physical process of interpretation (conducting) is the first essential.
[48j
5
,
The mastery of standard motions, with or without baton. is the first
Pupils
essential. 13eat patterns from I to 12 should be mastered.
should learn how to indicate entrances. holds, releases, and dynamic
markings while still conveying the mood of the music.
ance rooms.
1491
Opportunity should be given for pupils to experiment with different
seating plans for various groups in order that the best arrangement
for a given situation may be determined. Conductors should learn
to master their own score and also prepare their accompanists before
beginning the first rehearsal.
Selection of Personnel
Members of the class should be instructed in the methods of
choosing the personnel for selective choruses. orchestras, bands. and
ensembles. This includes the procedures involved in auditioning,
testing. and tiling the resulting data for each pupil. It also includes
instruction on achieving balance of parts and a good general effect
in all organiptions.
46$4
Selection of Music
The selection of music suitable for each kind of performing group
and for different grades of musical ability is of tremendous importance.
Pupils should learn criteria for choosing the music and should become
familiar with as large a repertoire of compositions and arrangements
as possible. The problem of program building should be given con-
sideration and examples of successful programs studied. Lists issued
by music teachers' associations and publishers will aid in choosing.....
selections of appropriate type and grade.-
Fantous Conductors
A good background may be gained by studying the biographies and
autobiographies of outstanding conductors, noting their individual
characteristics and styles.
(501
57
HI. ATTITUDE DEVELOPMENT
I
(General Education)
1511
expected to become proficient in performance in the
space of time
allotted. nor should they be expected to acquire a great depth of under-
standing of music theory. However. each set of guidelines
has been
designed to help students achieve objectives
representing greater
personal music involvement.
1521
FOLKSINGING
Objectives
Folk music is a legitimate art form and an important part of our
heritage. Folksinging is an enjoyable activity whereby students can:
Improve their self-images.
Relate to one another.
Empathize with and come to understand people who live in
situations which are different. from theirs.
Identify proudly with their ethnic. regional. or national heritage.
13roaden their human perspectives.
Come to love and .appreciate the beauty. the variety. and the
infinite capacity for expression of music. poetry, and language.
Fulfill their creative and emotional needs.
Experience the cnjoyn..ent of singing and creating folksongs.
Relate to great musical literature based on folk music.
(54]
61
GUITAR
Objectives
To:
Reach a greater number of teenagers with music. many of
whom have never been successfully reached before.
Provide an opportunity for individual musical expression
which might be more appealing to some individuals than
other curriculum activities have been.
Develop in the students an interest and a skill that will serve
them well when they arc alone or in the company of others.
both now and in the years to come.
The study of guitar is particularly well suited to promote achieve-
ment of these objectives. The instrument is popular with teenagers
and young adults. It is also versatile. being usable for solo perform-
ances. in combination with other instruments, or as an accompaniment
for songs. dances. and recitations. The guitar lends itself well to
improvisation. Additionally, learning to play the guitar can be a self-
directed experience which engenders independence. self-assurance.
and the pride of personal accomplishment. The Department publi-
cation. Teaching Guitar, is intended as an aid to the teacher in guiding
his students through what is essentially a self-directed learning activity
on the instrument. Playing the guitar is a satisfying experience even
in the early stages of learning. success can stimulate the indi-
vidual to increase the scope of his performance, thereby providing
incentive for improvement.
I5c
co3
MUSIC IN MODERN AMERICAN SOCIETY
(Contemporary Niusic)
199
Basic Activities and Content
See Music in Modern American Society, a guide prepared and
published by the New York State Education Department and furnished
free of charge to secondary schools in New York State.
[581
1.0
Administration
E59i
allowed in pupil achievement. Individuals who, because of conflicts
in scheduling or for other reasons, cannot attend school rehearsals
of performing groups regularly or meet other requirements, may be
enrolled on a noncredit basis.
The general rule for credit for music courses is to allow one unit
for four or live periods of instruction a week for a year with an
equal amount of time spent on outside preparation. Each period
shall be no less than 40 minutes in length. Students who arc sched-
uled for two or three periods a week for a year or four or five periods
a week for one semester. and invest an equal amount of time in out-
side practice or study. may receive one-hall unit. Some schools
may choose to grant credit on a laboratory basis (no required outside
preparation). for half the credit stipulated immediately above or offer
courses under attitude development (see flow chart. p. iv) and sched-
ule them for tour or five periods a week for 10 weeks or two or three
periods a week for a semester.
INDEPENDENT STUDY
Students who complete two years of music theory, to include har-
mony. counterpoint, or comprehensive foundations, and are consid-
ered sufficiently mature and competent by their instructors. may pursue
a year of independent study in the areas of conducting. arranging,
composition. or history and analysis. This can be done in lieu of
taking a course listed under musical knowledge. and will fulfill
requirements for one unit of credit toward a major sequence in music.
The individual program should be proposed and developed by the
student himself. with the teacher's guidance. and must be approved
by both the school music teacher or director of music education.
and the high school principal. A careful description of the program
should be submitted to the Bureau of Music Education for final
approval not later than May I of the year preceding the term such
work shall commence.
MAJOR SEQUENCES
The comprehensive music major (see llow chart, p. iv) .consists
of three Regents credits in music. At least one unit must repre-
sent a course designed to increase musical knowledge. The remaining
1601
to7
credits may be selected either from the areas of musical knowledge or
skill development. Exploratory courses listed under attitude develop-
ment cannot be included. (Sec now chart, p. iv.) Final examina-
tions are required according to procedures set forth in this syllabus.
The comprehensive line arts major requires that three units of
Regents credit arc accumulated according to the following procedure:
I unit of studio in art (or art history)
(Course outlines may be obtained from the Bureau of Art Edu-
cation.)
I unit .selected from courses relating to musical knowledge or atti-
tude development (Sec flow chart, p. iv.)
I unit of humanities or performing arts education
(Course outlines may be oitaincd from the Bureau of the
Humanities and the Performing Arts.)
EXAMINATION POLICY
[611
of each year a list of those pupils who plan to complete the compre-
hensive music major sequence and the comprehensive line arts major
by June of that year.
Questions pertaining to credit categories, major sequences, and
examination policy should be referred to the Bureau of Music Edu-
cation.
621
69
A. The Director of Music Education
Music programs become much more effective when all teachers
share common understandings with respect to those principles that
provide direction and those processes that become the foundation
upon which patterns of sequential experiences are developed. Verti-
cal and horizontal articulation are very necessary in order for a mean-
ingful music program to be properly implemented. It is important,
for example. that aims and goals in the primary grades coincide with
those of the intermediate classes, and that the same elements of
knowledge presented in the elementary school will be restudied in the
junior and senior high school in order that those succeeding applica-
tions may lead to finer insights.
It is essential that instructors have some knowledge of what the
child:413s_achieved through his previous training. Thus. the teacher
%vitt 'riCI:ible to determine desirable behavioral objectives necessary
for the further musical growth of the individual. In this way teaching
can be organized more satisfactorily and evaluation can become more
effective.
In the smaller school districts it is possible for teachers to develop
together a meaningful program based upon appropriate principles
and procedures that will teach the complexities of musical organiza-
tion in an orderly and systematic fashion. However, if larger sys-
tems are to achieve this end, it is strongly recommended that in school
districts where live or more music teachers are employed. a director
of music education be appointed. The director's responsibility, aside
from his other administrative duties, is to develop and implement,
with the help of his staff. a districtwidc music program which contains
objectives that are specific and precise with respect to scope, sequence,
continuity, and balance."
1631
70
The course of study for the first eight years of full time pub-
lic day schools shall provide for instruction in at least the com-
mon school branches of music, visual arts, arithmetic,
spelling, writing, the English language, geography, Unitedreading.
history, civics, hygiene, physical training, the history States
York State, and science. of New
Thus, -music is now one of the common branch
subjects.
Preschool and kindergarten teachers should be able
to handle their
own music programs under the supervision of a music specialist.
In
grades I through 6, music is best taught by a certified
music specialist,
in a room that can house a number of diio!...t.ified
music activities
comfortably and where equipment and materials are readily available.
For the primary grades (K-3) the child's relatively
limited attention
span would suggest that three or more short periods weekly of
approx-
imately twenty minutes each are appropriate, and for grades 4 through
6, two 30- minute periods every week would represent
a time allotment
sufficient for an effective program. In addition, chorus offers
lent music experiences at both the primary and the excel-
intermediate levels.
To provide sufficient opportunity to develop effective
ensemble sing-
ing, two 40- to 45-minute periods of rehearsal time
are suggested
each week. It is recommended that
music teachers be given time in
their programs for preparation, consultation and visits to preschool
and kindergarten classes. Music classes are of great advantage to
handicapped children, especially when taught by a music specialist.
In order to serve a program effectively, general music
specialists
should not attempt to work with more than 16 or 18 classrooms a
week or with approximately 400 to 450 pupils.
C. Secondary School General cind Elective Music Classes (7-12)
Music is required for all pupils in grades 7 and 8. For meaningful
programs, such patterns as four or five perioJs per Week for one se-
mester each year, or for two or three periods per week for the full year
are suggested. The same provision may be considered for classes of
handicapped children.
Music electives in the high school vary both in length of time re-
quired and the frequency of scheduled class meetings. The amount
of credit granted to students who successfully participate is governed
by the regulations to be found in the State Education Department's
revised Secondary School Curriculum of New York State, A Hand-
book for Administrators, and in this syllabus.
As provided in Article XXI, Section 170, subsection 2 c of the
Commissioner's Regulations, "The number of daily periods of class-
1641
71
room instruction for a teacher should not exceed five. A school requir-
ing of any teacher more than six teaching periods a day, or a daily
teaching load of more than 150 pupils, should be able to justify the
deviation from this policy."
D. Musical Performance (Elementary or Secondary)
Instruction can be provided on the basis of private, semiprivate,
or class lessons. In order that a sufficient amount of time is made
available for this instruction, a minimum of one 40-minute class les-
son per week is suggested. Instrumental and vocal classes are best
organized homogeneously.
Boys, girls, and mixed choruses, as well as other vocal ensembles
provide extremely valuable music experiences in elementary, junior,
and senior high schools. Bands and orchestras are the responsibility
of the instrumental instructor. Meetings of performing groups should
be considered as classes and counted as a part of the normal teaching
load. Performing groups require for best results a
minimum of two
40- to 45-minute rehearsal periods weekly.
One instructor can teach approximately 100 pupils in instrumental
classes each week. This may include giving individualized instruction,
working with small groups (five to eight pupils maximum), and super-
vising participants in small ensembles and solo activities. However,
it is difficult to apply any rigid formula of pupil-teacher ratio in this
area because of the wide variation from one school or system to
another' in size of performing groups, number of rehearsals per week,
and extent of individualized instruction. The more sophisticated
the level of performance achieved by the student, the greater the need
for individual attention, thereby necessitating a lower pupil-teacher
ratio.
Questions pertaining to these recommendations may be referred
to the Bureau of Music Education.
[65]
701
1
1661
EVALUATION PLANNING CHART - MUSIC
for developing individual musical talents and widening music
General Objective: To provide opportunities
appreciation to the fullest extent possible
EVALUATIVE PROCEDURES
-
PERTINENT BEHAVIORAL CRITERIA
SPECIFIC OW ECTIVES
Pretesting and positesting. using
To improve skill in musical Sings or plays with improved tone, either an available commercial stan-
intonation, accuracy, and expression dardized test such as the Watkins-
performance Reads musk with increased ability Farman Performance Scale for all
and greater independence Band Instruments. or a subjective
evaluation such as those used at solo
competitions
A log of music studied and per-
formed (See example. page 68).
There are no reliable standardized
under- Improved recognition of the factors tests available in this area. Evalua-
To increase knowledge,
standing, and appreciation of mu- essential for effective musical per- tion must he accomplished by the use
sic formance of classroom tests developed by the
Greater recollection of historical instructor. Under normal conditions.
information pertinent to music studies these would be subjective rather than
Greater responsiveness to quality in objective.
musical performance
Improved responsiveness to theex-
pressive value of different types of
music
Testing on the content of class ses-
To improve skills of music lis- Improved ability in the perception of sions and a checklist of the concepts
form to have been formulated
tening Improved ability in the recognition A log of listening activity (Sec ex-
of style ample. page 69.)
Student's Name
Technical Exercises
Scales
and Intonation
and Dynamics
Solos
168 J
.1711MIP"--r, 44011r
Student's Name
Selections Heard
1.
2.
3.
4.
Form refers to general outline m ch as ABA, Son:Ho-form, etc. (Other
information can be substituted.)
" Style refers to stylistic eras such as baroque, classical, romantic. (For
elementary level, general information such as running, swinging, slow,
fast, etc. may be submitted.)
1691
749
Or
) or
1701
instruments. charts. references, and bulletin board materials of one
sort or another. have long been considered standard equipment for
music instruction. 13ut these are no longer sufficient. Technological
developments and resultant changes in society and in our way of life
have produced new approaches to education. new modes of learning.
and new student-teacher relationships, And these. in turn. have made
the use of various media important in music education.
To he truly effective. however, both the resources and the equip-
ment should be varied and accessible. so that students can experience
all types of music. utilizing all their senses. as often as possible. The
classroom and/or school library media center should therefore con-
tain a wide variety of magazines. pamphlets. posters. advertisemNss
4 pictures. slides, photographs. transparencies. films. filmstrips. and
cartridges; audio materials: folk instruments as well as band, orches-
tra. and classroom instruments; electrical components: and other things
that students can see and hear. touch. assemble. and play. Repre-
sentative selections from folk. pop. jazz. and e'ectronic music should
complemc;nt the usual instructional and classical forms. And when-
ever possible. there should he portable as well as fixed equipment
so that students can use media at home; carrels or consoles with
earphones. for independent study; tape recorders for diagnostic.
instructional. and assessment purposes: slide. film. and overhead pro-
jectors: cartridge equipment; and appropriate video tape and television
equipment.
Sonic of these items might be secured through State or Federal
funding. private contribution, or permanent loan if not available
through the usual budgetary channels. A useful guide to materials
and their sources in Words, Sounds. and Pictures About Music, grades
7 through 12. produced by the Bureau of Secondary Curriculum
Development of the State Education Departinent. Current,.reviews
in music periodicals and the various publications of professional
music organizations are also valuable aids to selection. In any event.
the acquisition of a variety of media and materials for music educa-
tion, and arrangements for using them, should 1-.:e planned coop-
eratively by
by music departments. school libraries, and media center
personnel.
Additional information and assistance are available upon request
from several sources in the State Education Department in Albany
including the Bureau of Music Education, the Bureau of School
Libraries, the Bureau of Classroom Communications, and the Bureau
of Mass Communications.
79
RECRUITING PLAYERS AND PLANNING
INSTRUMENTATION
1721
Rental plans are helpful in making it possible for children of.
parents of moderate means to acquire a musical instrument.. Most
dealers have both rentals and time purchase plans whic:1 relieve
parents of making substantial outlays of money when it is nOt con-
venient. or to allay fears that their child may lose interest and termi-
nate study. Schools often supply a large number of instruments for
beginners and charge a small maintenance fee to cover the cost of
repairs. depreciation, and purchase of replacement instruments.
The school grade at which a pupil should begin instruction on f
musical instrument -varies with the individual pupil. the particular
instrument. and school district policy. Instruction may range from
preschool piano and the Suzuki method for the violin. to beginning
instruction on band and orchestra instruments in grades 3 through 12.
In order to provide balanced instrumentation in perforriing groups.
transfers can readily be made from the more common instruments
to appropriate color or background instruments.
I 73 I
Curriculum areas for class instruction of music literature. theory,
listening facilities. individual work, and adaptability for general
music classes. if necessary.
Administrative facilities including alike space for the music
staff. and meetings with students and parents.
There arc many factors which should be considered when devel-
oping plans in each of the above areas. Some of the most pertinent
have to do not only with what the present program and enrollment
is. but also what is considered to be a reasonable projection for the
future. Another factor is the community involvement and use of the
facilities. The final and perhaps most per tiding consideration is the
financial requirements for building the desired facilities and what the
financial resources of the community are.
It is important that a music stall' have considerable discussion
concerning the new construction as it relates to the above four areas.
If it is possible. a member of the architectural firm should be present
at one of the early meetines in order to give advice concerning the
cost of various items that are considered. Also. at this stage of
planning. a system of priorities should be considered. Very often.
a department is allocated a certain number of square feet in the new
construction. If this figure falls far short of the assumed needs. a
system of priorities would take on even greater importance. In some
eases. it might even prove advantageous to limit the size or rehearsal
roams in order to gain space for other facilities such as office. repair.
and library storage space. .
1741
partially controlled but the security of the music rooms has been
increased.
In the specific planning of the music rehearsal facilities there arc
several guidelines which can be of help. The MENC recommends
20 by 24 Square feet per student for an instrumental rehearsal hall.
Thus a 50-member group would require approximately 1.200 square
feet or a room 30 5y '40 feet. Choral rehearsal rooms are recom-
mended to provide 15 to 18 square feet per student; thus a choir of
100 would require 1.800 square feet or a room 40 by 45 feet. Of
course. cubic footage, including height of ceiling. is an important
acoustical consideration for any music rehearsal room. Also impor-
tant is the arrangement of these rooms for effective rehearsal in terms
of matching their characteristics to the actual room in which public
performance is to he held, and in terms of arranging the rooms in
a shape such that each member of the group can hear ckarly the
sound from other parts of the ensemble. While it is preferable to
have separate classrooms of approxiinate size and acoustical con-
struction. if either or both of these roonis are to be used for general
music in the seventh and eighth grades. other equipment would be
necessary and their functions must be considered. Another factor
as mentioned above would be the growth factor. If the instrumental
organization may he expected to grow to about 80 students. the
30- by 40-foot room would be too small. This group would need
a room of about 40 by 48 feet. It thus seems best to plan for a
projected increase rather than the present level of participation.
In preparing a list of priorities for music facilities. a cost estimate
sheet can be very helpful. A specific item may be very high on a
priority list but its expense may invalidate its real usefulness as com-
pared to other items. Some examples might be cited to illustrate
this. Individual lockers for each instrumental student may be a high
priority item of equipment. Their cost averages $10 for a small
instrument locker. $25 for medium-size instruments, and $40 for
large instruments. This means that 100 instrumental student lockers
would cost approximately 52.000. Floor space would also have to
be reserved for the lockers. "Phis may appear to be a large price
for instrument security and good arrangement of space. A decision
might well be made to purchase three studio pianos instead. use the
money for a sound studio for recording, or buy instruments.
A compromise might be considered, such as to assign the floor
space arid liurehase a portion of the lockers (for the smaller instru-
ments, since these are the most easily stolen) and use the rest of the
money for other equipment.
1751
It is important not only in the early stages of planning but also
during construction to keep abreast of new products. Many corn-
panics advertise in architectural journals items that a music faculty.
might regard as very useful for its department. 'Consumer
reports
and product digests are available on a monthly basis and should
be
consulted frequently. An example of arriving at a final decision with
the help of various publications can be seen in the choice between
metal- cabinets or wooden cabinets for storage of instruments. uni-
forms. robes. and music. There are advantages and
disadvantages
in both types. Metal can be noisy. often.heavy,
and the edges can
be dangerouk. Wood can splinter or burn, and doors
can be pulled
from their hinges. The cost factor is also an important considera-
tion. There are new prodacts which
offer a compromise between
wood and metal by using pressed board with laminated surfaces
and
piano hinges. The initial cost and the durability
of each item chosen
in equipping the music facilities should be considered. If the floor
space to be used for this type of storage is irregular in shape. custom-
built storage units ought to he considered. Their cost may be higher
than production line units, but the full utilization of all
available
space should be of major concern. This suggestion is not
meant to
imply that all the available space should he used immediately. A
staff should live with their new facilities for
a time before making
final decisions concerning equipment. room use. and
storage of equip-
ment.
Following are some general suggestions to consider in the planning
stage:
Try not to have a music classroom and rehearsal hall
back-to-
back." Have a music library, instrument
storage or 'uniform/
robe storage. or a music office between. The best arrangement
is to have a small inner hallway dividing these rooms.
Practice
rooms between two classrooms or rehearsal rooms are seldom
satisfactory due to problems of traffic. sound. and ventilation:
The question of acoustics remains as one of the most frustrating.
Too much reverberation is as serious a problem as too little:
Most architectural firms will have considerable information con-
cerning materials and construction details such as angled walls
to control the sound. Some of these methods are costly and do
not always work. Permanence hi, baffle installation is a serious
problem in terms of sound control. Having acoustical control
items that are movable is an asset. A drape mechanism with
suspended cloth material provides a flexible
arrangement for
1761
increasing or decreasing the amount of sound absorption in a
room.
The use of risers in rehearsal halls can be an important sound
blending factor in addition to affording each player a full view.
of the conductor. One decision that remains to be made is
whether to have permanent risers (usually concrete when on
ground level) or movable risers. The permanent are strongest
and give a rehearsal room a clean and neat appearance. Movable
risers often develop noises. The great advantage to the movable
risers is that. if the room is needed for another use: the risers
can be removed or they can be used elsewhere in the building
if needed.
Individual listening -facilities are extremely important to music.
literinure courses and especially in humanities and related arts
programs. If the music facilities arc to be utilized for this type
of program. listening stations would be important to consider.
One of the most popular systems is a central control; i.e., a
phonograph or tape recorder with a distribution unit that accom-
modates several headphone outlets. There is a rather complete
discussion of this on pages 90-99 in the MENC publication.
Music Buildings, Rooms and /Equipment. published by the Music
Educators National Conference. 1201 16th St.. NW.. Washing-
ton. D.C. 20036.
Listed below are specific areas and functions one would consider
in planning a music facility. The page numbers refer to pages in
the MI NC volume.
Storage units pp. 41 & 42
Rehearsal halls pp. 27-31
Practice rooms pp. 31 & 32
Listening facilities p. 34
Musk library. p. 43
Instrument repair p. 45
Auditorium facilities pp. 47-60
Lighting. heating. and ventilating pp. 77-82
Electronic equipment pp. 90-99
It should be emphasized that several opinions should be sought
concerning the various items of equipment. arrangement of space,
quality of products. and so forth. Visits to neighboring schools should
be participated in by music faculty members as well as school admin-
istrators.
1771
Sy
Sources of Information About Room Design and
Equipment
American.Association of School Administrators. Planning America's
school !buildings. The Association. 1201 16th St. NW.. Wash-
ington. D. C. 20036. 1960.
American Seating Co., Grand Rapids, Mich. 49502.
Portable equipment for music rooms.
Beranek, Leo 1. Music, acoustics, and architecture. John Wiley &
Sons. New York 10016. 1962.
Century Lighting Co., 521 West 43d St.. New York 10036.
Catalog of lighting equipment for theaters and auditoriums.
Claran Nlanufacturing Co., 464(Y West Harrison St.. Chicago, Ill.
60644.
Catalog of various styles of chairs.
Cole Steel Equipment Co., 640 Whiteford Rd.. York, Pa. 17402.
Catalog of Alec furniture and file storage equipment.
F. W. Dodge Corp., Sweet's architectural catalog file. Division of
McGraw-Hill. Inc., 620 Eighth Ave.. New York 10018.
A file of pamphlets about current materials architects might
find useful.
The Hammet Co., Ha meet's educational supplies and equipment.
The Hammel Co., 165 Water St.. Lyons 14489.
Hold, E. E. Guidelines for school building planning. Columbus.
Ohio. Ohio State Department of Education. 1964.
Ho lophane Co.. Lighting for education. New York. Holophane Co..
Inc. 1965.
House, R. W. Instrumental musk for today's schools. Englewood
Cliffs. N.J. 07632. Prentice-Hall. Inc. 1965.
Mmes.& Berg Manufacturing Co.. 4801 Railroad Ave., East Chicago,
Ind. 46312.
Risers and platforms.
Ketchum, Milo. Handbook of standard structural details for build-
ings. Englewood Cliffs, N.J.!07632.- Prentice-Hall, Inc.
Midwest Folding Products, 1414 South Western Ave., Chicago, 111.
60608.
Cato log of folding products.
1 781
National Audiovisual Association. The audiovisual equipment direc-
tor; I hh cd. The Association. Fairfax, Va. 05454. 1965.
New York State Education Department. Planning the music suite.
The State Education Department. Albany 12224.
Norren Manufacturing Co., P.O. Box 776. Arcadia. Calif. 91006.
Storage cabinets for uniforms, instruments, and music.
Product Information, 22 West Putnam Ave.. Greenwich, Conn. 06830.
A monthly listing of new products of various companies. in-
dexed for all subject areas. Includes new product's for general
construction, renovation, and equipment.
St. Charles Manufacturing Co., Saint Charles, III. 60174.
Storage cabinetS and furniture.
Shelton Equipment Co., Muskcgan, Mich.
Includes drawings and storage units.
Wenger Corp., 66 Wenger Building. Owatonna, Minn. 55060.
Risers, acoustical stage panels, platforms. and storage equip-
meat.
Periodicals
The Architectural Forum, III West 57th St.. New York 10019.
The Architectural Record. 330 West 42d St.. New York 10036.
Progressive Architecture, 600 Summer St.. Stamford, Conn. 06902.
et , ;;;I:
SCHEDULING MUSIC INSTRUCTION
The success of the music programs' in any school depends to a
large extent upon how satisfactorily all music activities are scheduled.
Instruction in the skill development and musical knowledge' areas
has been accepted throughout the United States as a regular part
of the school curriculum. This acceptance has been accompanied
by increased prestige. higher standards of performance. and a greater
number of participants. Attitude development (electives in general
education) arc now being added to the curriculum offered by progres-
sive music educators in forward-looking schools.
In scheduling music classes it is essential to provide the opportunity
for pupils to benefit from the courses, the performing group activities,
and the individualized instruction given in the music dcpartmeni with-
1791
f6
out unduly disturbing the balance of the school
curriculum. It is
wise to use the time of the music teachers
to the greatest advantage
and vet to give due consideration to the physical
strain involved in
conducting musical activities. Since local situations
vary, no single
pattern or set of patterns of scheduling will
answer every purpose.
Adequate programing requires careful consideration
of the recom-
mendations in this syllabus and the application of
situation. Various ways and
them to a specific
means have been devised to accomplish
this.
In spite of the generally increased interest in music
education in
schools throughout the country. certain factors associated
with schedul-
ing sometimes make it difficult for high school
activities. One is the tendency
pupils to enroll in music
to lengthen periods and to ticacase
the number of periods in the schoolday.
Another 'factor is that an
increasing number of high school pupils are preparing
for college
entrance. These pupils often find themselves in the
to choose between a required or strongly position of having
recommended college
entrance course and participation in a music organization.
fact which complicates scheduling is that there A third
are many new and
interesting courses constantly being added
to the curriculum. 13esides
these are the difficulties arising out of bus
in centralized school districts, early dismissaltransportation schedules
larger cities. double sessiO'hs in certain rapidly for part-time work in
growing suburban
communities, and increasing enrollments in practically
schools. all secondary
I so I
87
Additional factors which must be taken into consideration in deter-
mining the music schedule for any particular school arc the following:
Number of music teachers
Number. type. and size of music rooms
Enrollment of music organizations
Number of periods in the schoolday
Number of rehearsals or classes per week
Large schools having at least three music teachers and three music
rooms can easily have optimum schedules of music organizations and
classes. If three different rooms and teachers are
available. the three
organizations can meet during the sante period. This latter method
has the advantage of causing the least disturbance in the total school
schedule but it limits each pupil to one organization unless a plan
for sharing pupils is worked out. In most of these schools. each
major organization meets daily and pupils have no serious conflicts
because there are several sections of required subjects meeting at
various other times during the day. Some large schools also relieve
conflicts by having two or more divisions of their major organizations.
particularly band and chorus.
Schools of medium size usually have to work out their schedules
with greater forethought in order to plovidc an optimum program with
a minimum of conflicts. It may not be practicable to have daily
rehearsals for each organization. If there is only one instrumental
instructor. it may be necessary. for the band or orchestra to rehearse
on alternate days or to share in sonic other compromise arrangement.
Some teachers have found that better overall results may be obtained
with three rehearsals spaced on Monday. Wednesday. and Friday.
The advantage is that pupils arc more readily, induced to take their
instruments home for daily practice under the three-period plan. The
choral instructor may have to divide a block of periods between mixed
chorus. girls glee club. and boys' glee club.
In small schools. a good practice is to clear a daily block of periods
for music organizations in order to avoid conflicts. Pupils who are
not in the music organizations will be in courses with multiple sec-
tions or in study halls. In some schools a flexible arrangement is
effected by which all performing groups meet during the same period
daily. The extA4ttrungement is determined by the instructors and
director of music education. A possible arrangement is for full
instrumental groups to meet for two or three periods a week and full
vocal groups on the alternate days. The remaining students not par-
ticipating in more than one musical oeganization can be utilized for
1811
Sg"
sectional rehearsals, small ensembles, or any number of other pos-
sibilities when not involved in full rehearsal.
Modular scheduling. which is being widely experimented with,
promises tofooscn some of the traditional restrictions to fullest realiza-
tion of curriculum potential.
The practice cif scheduling music organizations exclusively in the
activity period is rapidly disappearing because it discriminates against
the music student-by forcing him to choose between participation in
a music group and extraclass activities. Music organizations are no
longer considered as extraclass activities, but arc recognized as a
regular part of the school curriculum.
Nearly all schools offer some form of individualized instruction as
a part of the instrumental music program. The most common prac-
tice is to provide class technique lessons for small groups of four
to
eight pupils. Homogeneous grouping allows for
the most efficient
use of both the teacher's and pupil's time. Some teachers prefer
to work with individual pupils even if for a short time only.
In order to schedule instrumental instruction efficiently. the rotating
plan providing for a class meeting at different times of the day
appears
to function most satisfactorily. Under this plan. groups lettered
A. 13. C'. D. etc.. rotate to a different period each suc':ccding
week.
The pupil will thus miss the same course only once in 6 or 7 weeks
or once in 30 to 35 recitations.
Sometimes unusual solutions may be devised to solve scheduling
problems. For instance, sonic schools schedule seven periods in a
six-period day by dropping a different period each day in a systematic
order. Another plan which meets
minimum requirements is to have
all high school classes meet only 4 days a week rather than 5.
The
saved period may thus be used for music organizations, and pupils
who are not in any music organization may use the free period
for
study or for some other activity.
Some schools have preregistration prior to the next semester. With
the information obtained. the music teacher may be able
to schedule
members of small ensembles and even large sections of the band
so
they have a free period in common during which they can practice.
In any event the scheduling should be kept as flexible
as possible.
reviewed annually or oftener. and revised as necessary.
Since scheduling is so vital to the success of the music
program;
the direct& of music education should be acquainted with the
best
practices in comparable schools and should be prepared
to suggest
practical solutions to the problem of scheduling in his own school.
182
THE MUSIC BUDGET
4831
.70
U-
1841
qi
- 400 Contracted and Other Expenses
(Contracted bus service to games. parades, etc.)
A600 Operation and Maintenance of Plant
200 Equipment
(Desks. chairs. risers)
A730 Employees Benefits
611 Teachers Retirement
615 Social Security
616 Health Insurance
A740 Insurance
614 Other Insurance
(Fire and theft coverage on instruments and uni-
forms)
1851
.
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